Bujinkan Santa Monica

Takayuki Ishihara photo By CobraVerde A big "secret" in our training is so basic that it is hidden in plain sight. I can tell you what it is and you will very likely ignore it. People always nod their heads when it is explained to them, as if it were old news, and then begin training on something else. This secret is 歩き aruki or walking. After typing this I already sense people clicking some other link. Looking for the next flashy blog post or training video. Or worse, being convinced they already understand this "secret." Sensei often reminds us that enlightenment is under our feet. This is like 脚下照顧 kyakkashouko, where the best way to begin to know yourself is to look where your own footsteps fall. So let's start walking. We have many types of walking in the Bujinkan to consider. Some of these skills are called ashi. I've written about many of these types of walking before: Like a Walk Through Yūgen 幽玄   But today I want to explore some ways to ...

Besides training in the Bujinkan with Paul, I have had the privilege of many great discussions with him as an artist. I am an artist myself, so we connect easily on that level. We got together one afternoon during his visit to Santa Monica to discuss his artwork. If you can't view the video above, here is the link: Paul Masse 書道 Shodo and 水墨 Suiboku If you didn't already know, Paul has studied Japanese Calligraphy or 書道 Shodo, Japanese Ink Painting or 水墨 Suiboku, and Japanese Pottery. He has even been reviewed by Hatsumi Sensei! Wait till you hear what Sensei said about his work… He was kind enough to share some of the feeling behind his work as well as some tips for beginners at this style of art. If you train in the Bujinkan, or are an artist yourself, I know you will find a lot to be enthusiastic about in our video.

Paul Masse puts Dante in some weird Yoga Bondage I was lucky to organize some last minute training when Paul Masse called me a few days ago to say he was going to be in Santa Monica. Paul has traveled to India recently and studied yoga in Rishikesh. He was overflowing with an abundant need to share (or torment) us with some of his unique yoga experiences. So we began with Paul's 柔軟体操 Juunantaisou by way of India. In between our normal taijutsu study, Paul would insert yoga experiences throughout the day. At one point when I looked around at everyone who was groaning as they tried to get into a pretzel, I raised my fist and said, "damn you Paul! Why did you have to go to India?" Even though these yoga poses were difficult for me, I gained a lot from Paul's enthusiasm. As far as the taijutsu went, it was fantastic. Paul moved very quickly through concepts and henka to present the feeling he wanted to convey. If I had to pinpoint a theme for the day, it would ...

真是厲害的鏡頭 photo By *嘟嘟嘟* Hatsumi Sensei has suggested that another reading of 神眼 shingan is kaname. As we study this years feeling it might become important to see with the divine eyes of shingan. To truly comprehend this principle requires we understand how to connect to the divine. In my recent video about 不動座 fudouza , I suggested some symbolism that connected the heavens, down through the conduit of our physical bodies, and into the earth. The way Hatsumi Sensei describes this connection, it's not him doing the techniques, but they are being created through this connection. No matter your beliefs or religion, it is crucial to understand the foundations of Japanese symbolism to get the feelings behind our art. Hatsumi Sensei says that one way to learn this is through Sanshin no kata that is connected to the heavens. It is connected through heaven, earth, and man (tenchijin). He further describes this as  天動説 tendousetsu, 地動説 chidousetsu, and 人動説 jindousetsu. 天動説 tendousetsu is...

Here is a quick video for all my readers about 不動座 fudouza. If you can't see it above here is a link to the video:  不動座 fudouza This is not a description about technical details of sitting in this kamae, but rather more about the feeling and symbolism associated with the "immovable seat."  I describe fudouza's connection to the symbolism of axis mundi, which is the central point around which the world revolves. I then tell a story about the Buddha and his battle with mara while seated under the bodhi tree. What happened when he got up after reaching enlightenment? I detail a bit about 坐り型 suwari gata in the Bujinkan, and how Hatsumi Sensei sometimes approaches this with the feeling of Daruma. Oh, I forgot, I also caught my first clumsy writing of the kanji for 不動座 fudouza on camera! And lastly I suggest a tricky way to leave Fudouza. Be careful if you try it!

When Stunts Go Wrong, photo by Loco Steve In our modern world, combat has evolved to an industrial and mechanical affair. Machines (機械  kikai) do the killing at a distance. For martial artists this can feel overwhelming or outside the scope of our training at a very human scale. But the Bujinkan also evolves with the times. Even though we study ancient weapons and arts, we must also keep our training alive to address modern concerns. I was reading this humorous article about not being afraid of the robot apocalypse or of being destroyed by terminator robots: What if there was a robot apocalypse? In this article the author explains how difficult it is for robots or computers to adapt. How easily they can be defeated by simple, and often natural methods or elements. For example, a fire hose turned on most robots will quickly end their rampage. Or a simple fishing net thrown over a robot would easily entangle its mechanics. Anything messy, really. Tar, mud, water, rubble, contamin...

Yabusame 流鏑馬, Kumamoto-shi, JP. photo by malfet_ We are more than halfway through 2012 and training has been great! Back in December, I wrote about a class where Hatsumi Sensei suggested some possibilities of a theme for 2012 . As often happens the theme has evolved to express other ideas than those Hatsumi Sensei shared in December. One idea that has emerged has been an exploration of the idea of kaname 要. Kaname 要 can be described as the essential or vital point of a technique, of a moment, or of strategy. It is essential because victory or defeat can pivot at this point. Everything hinges on grasping this moment. But this is not a new idea from Hatsumi Sensei. At last year's Daikomyosai, Soke gave us a lot of focus on the concept of Kukan no kyusho. At the time, besides having my eyes opened, this concept felt pivotal to everything we are currently studying in the Bujinkan. And, it turns out that kaname and kukan no kyusho are getting at the same feeling. In years past, So...